BLOODSTOCK OPEN AIR 2011

DATE:

VENUE:

Friday 12th August - Sunday 14th August 2011

Catton Hall in Derbyshire, UK

Devin Townsend on Bloodstock's main stage, 12th August 2011

Photograph copyright © 2011 Mark Holmes - www.metal-discovery.com

Reviews by Mark Holmes & Hannah Sylvester; Photography by Mark Holmes

(The Defiled; Wolf; Forbidden)

(Poisonblack; Triptykon; Coroner)

(Kreator; Devin Townsend Project; W.A.S.P.)

(Skeletonwitch; Grave Digger; Tarot)

(Dripback; Finntroll; Ihsahn; Northern Oak)

(Therion; Rhapsody of Fire; Immortal)

(Hell; 1349; Primordial)

(Napalm Death; Hammerfall; Exodus; At The Gates)

(Amaranthe; Morbid Angel; Motörhead)

Reviews by Mark Holmes & Hannah Sylvester; Photography by Mark Holmes

(The Defiled; Wolf; Forbidden)

(Poisonblack; Triptykon; Coroner)

(Kreator; Devin Townsend Project; W.A.S.P.)

(Skeletonwitch; Grave Digger; Tarot)

(Dripback; Finntroll; Ihsahn; Northern Oak)

(Therion; Rhapsody of Fire; Immortal)

(Hell; 1349; Primordial)

(Napalm Death; Hammerfall; Exodus; At The Gates)

(Amaranthe; Morbid Angel; Motörhead)

KREATOR

One band always guaranteed to deliver the goods on the festival stage are Teutonic thrash legends Kreator who last appeared at Bloodstock a couple of years ago. Introduced by Johnny Doom from Kerrang Radio, the man seems more concerned about justifying his own presence by reassuring the crowd that, despite his association with Kerrang, he does actually like proper metal and has done for years. This does little to alleviate the ubiquitous boos from a vociferously jeering audience who evidently see red at the sheer mention of Kerrang and continue to show their disapproval at Doom's presence whatever he says. When he eventually finishes rambling Kreator take to the stage... and it's a stage that has been dressed with their mammoth backdrop, side banners and stairs either side of a covered drum riser. It's in stark contrast to Coroner's minimalist appearance and the large crowd that's accumulated to witness the Germans in action lap it up en masse as, from the very first bars of the first song aired, 'Hordes of Chaos (A Necrologue for the Elite)', a seemingly constant flow of crowd surfers float across a sea of banging heads. And on a side note, as I stand in the photopit composing shots, I'm interrupted by a gentle prodding on my arse. As I turn around expecting to see a security guy backing into me from lifting out a crowd surfer, or another tog who just happened to nudge into me accidentally, the last thing I expect to be confronted with is a large inflatable cock that someone has hurled over! A giant inflatable cock decorated with a face that made its way towards my butt. Random! Cocks aside, Kreator whip up a maelstrom of thrash intensity for their sixty minutes on stage as tracks old and new are fired out in quick succession, climaxing with the expected 'Flag of Hate' and 'Tormentor'. The former is preceded by frontman Mille Petrozza informing the crowd that this isn't the first time Kreator have played Bloodstock and won't be the last, declaring rather over presumptuously that "next time we'll come back headlining this motherfucker, okay?" You can't knock the man's enthusiasm but, for this to be a reality, either the festival would have to scale down in size (not a chance, it's ever-increasing), or Kreator would require a huge surge in popularity (also unlikely). Maybe I'll be proven wrong although I very much doubt it. For now, though, they've provided Bloodstock's audience with another dose of full-on thrash ferocity with a performance that marks a triumphant return to Catton Hall. (MH)

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FRIDAY 12th AUGUST - PART 3

DEVIN TOWNSEND PROJECT

A little bit of history this evening in the evolution of Bloodstock Open Air - Devin Townsend becomes the first act to perform on the main stage in two consecutive years. Anyone who attended Catton Hall in 2010 and witnessed the DTP's set will be fully aware that it was plagued with technical glitches for the first fifteen minutes, during which time no music was played but, instead, Devin entertained the audience with his humorous banter and generally batty presence. I doubt anyone felt short-changed that year in only receiving forty five minutes of music instead of the promised hour but, I know from discussions I had with Devin during an interview back in March, that he was keen to get back on Bloodstock's stage to make amends (and full of gratitude for the opportunity to be able to do so, such is the incredibly nice guy he is). And, by fuck, he doesn't disappoint with not only a festival stealing performance but one of the greatest live shows I've ever witnessed. And entirely glitch-free this year. DTP members appear on stage first, with Devin following a few moments later, but it's the man's alter-ego alien puppet Ziltoid on the left hand screen who kicks off proceedings. After a few scripted lines of amusing interactive dialogue, the musicians launch into 'By Your Command' and the show is in full flow as Devin strides around the stage in his inimitable manner, contorting his face into a plethora of gurns, grins, grimaces and growls. At the song's climax, Ziltoid appears again to address the audience as "Bloodcock" in what is evidently footage tailored specifically for the festival along with heckles such as "you, fat man in the Manowar shirt" (of which there were bound to be a few so undoubtedly a safe bet to record such!). 'Addicted' track 'Supercrush!' follows, then 'Kingdom', a couple of 'Deconstruction' numbers, 'Stand' and 'Juular', and airings of 'Truth' and 'Om'. 'Bad Devil' is preceded by Devin informing the audience that it's now time for some dancing whereby many crowd members engage in all sorts of crazy moves in a mutual experience of mirthful metal unity as the band play the best live incarnation I've ever heard of the track. He then acknowledges the craziness of the few days prior to Bloodstock with the UK riots, says how beautiful a country it is here, before aptly performing the rather awesome 'Deep Peace'. After birthday greetings and cake are given to Bloodstock organiser Rachael Gregory on stage, 'Vampira' closes the set, a track never performed live previously, complete with guitarist Dave Young on keys. Awesome beyond words, Devin Townsend and his fellow musicians have proved themselves worthy of a headline slot at a future edition of the fest, an observation consolidated by the mammoth crowd in attendance and the widespread euphoria experienced by all during Devin's performance. Surely the DTP won't be booked for a third consecutive year? I certainly wouldn't be complaining. (MH)

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W.A.S.P.

Following Devin Townsend was never going to be an easy slot to fill, so tonight of all nights W.A.S.P. really have their work cut out from the outset. Sure, there are enough fans in the crowd to make things a little easier for them, but could they really cut the mustard? Everything starts out okay with the usual “show” they put on but, after a short while, it's massively apparent, to me at least, that the worthy headliner had already been and gone. Blackie’s (who seems to resemble a pantomime dame more each time I see him) attempts to get the crowd going but comes across as contrived and scripted, and sounding like there isn't an ounce of sincerity in his voice. And then he really pulls the wrong rabbit out of the bag in terms of trying to “connect” with his audience. He starts by saying, and I quote, “when I was with EMI, I used to be referred to as the honorary Brit”... well, for all it was worth, he might as well have been referred to as the honorary prick considering what comes next; his ill-advised speech about the very recent, serious rioting in England, whereby he proclaims that the only way to sort the situation out is to go out and take your country back. This is the point where I, for one, and I'm not alone, thinks that this is way out of order, and the point where I lose all respect (well, what little I had anyway) for the man. Don’t comment on things you don’t fully understand Mr Lawless. Shame really, as I’ve enjoyed W.A.S.P shows in the past, but this really puts a total dampener on their set. Playing usual live favourites, including ‘L.O.V.E. Machine’, ‘The Real Me’, ‘I Wanna Be Somebody’ and, most notably, ‘The Idol’ with its awesome guitar solo which always makes their live shows worthwhile, you can't fault their sound or their musical professionalism and “showmanship” (if that’s your thing), but the insincere attitude coming off the stage, coupled with what was said, really have made me reconsider seeing them again. There is such a thing as growing old (musically and personally) gracefully and with dignity and respect, and Blackie really doesn’t seem to have grasped this one yet. Shame. (HS)

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